Lol. Gotta love those Lydian Dominant pentatonics on the V chord!
At 11/1/10 04:54 PM, Chris-V2 wrote: Lol. Gotta love those Lydian Dominant pentatonics on the V chord!
A sunglass smiley would have been a more appropriate icon. I assume that would be 1 3 #4 5 b7? Interesting approach...
Yup, sharpen the 5th for Lydian Augmented etc. etc.!
I was referring to the guy who whistled over it. I stuck to C minor, C major and G minor pentatonics mostly. Bita chromatic shtuff, bit of C dorian and aelion.
At 11/2/10 07:01 PM, Chris-V2 wrote: Yup, sharpen the 5th for Lydian Augmented etc. etc.!
I was referring to the guy who whistled over it. I stuck to C minor, C major and G minor pentatonics mostly. Bita chromatic shtuff, bit of C dorian and aelion.
Wtf is this I don't even
This is what I should be knowing when doing this masterclass? Well gosh, I need to get way ahead then.
Strychnine and cyanide. A healthy part of this complete breakfast.
It's been a while... I was busy (and I still am) but I managed to make something special for the "guitarheadz" here:
A simple rock-shuffle blues in A minor. (Cosmic Alfonzo, that's for you this time :D )
At 11/16/10 07:41 PM, Mystery-Moon-Pie-Aud wrote:
Wtf is this I don't even
This is what I should be knowing when doing this masterclass? Well gosh, I need to get way ahead then.
Haha, it's nothing like that! I was assuming this is a place where we can share this sort of knowledge. Just because I know I did that stuff doesn't mean I a) Deliberately did it despite lacking musical merit or b) That they're difficult to do. I'm not a virtuoso player by any means.
It's a minor jazz thing so minor scales worked over it - Dorian and Aeolian/Minor scales! The minor pentatonic was going to be there anyway cause, well, it's the minor pentatonic. But why several minor pentatonics!?
Let's say it was all in D dorian - D E F G A B C
well the D minor pent works - D F G A C
But..wait, wont the A minor pent fit too? A C D E G
Yes, those notes are all in D minor. You're just highlighting different notes in the key. There's lots of other minor pents that will work over it too in varying amounts. Cool beans, senor.
But, yes, Cosmic. I do feel these things are a waste if they're not musical.
I agree. And trying out new ideas is showing balls. Don't bother with being intimidated unless you sincerely feel playing the wrong note will lead to someone's death.
At 10/29/10 10:48 AM, sorohanro wrote: Hi
There are no augmented or diminished in "C-Jam Blues", there is just one (quite simple substitution, VI instead of I and a II instead of IV, both just minor chords).
The structure goes like:
||: I | IV | I | I |
IV |IV | I | VI|
II | V | I-VI| II-V:||
That in C major translate to:
||: C | F | C | C |
F | F | C | A-min|
D-min| G7 | C A-min | D-min G7:||
Also I kind of put a 7th almost on every chord, just for good luck. Hope that helps.
Oooh, quite an interesting progression you've got there, it's exactly the one I had to do for my term exam on the trumpet. I see you plugged the jewish scale on the 8th and 11th bar, it's open for a lot of interesting things.
For people who don't know, the jewish is the dominant of a harmonic minor (minor with a major 7th), wich in the case of C-Jam Blues would represent for the VIth degree: A-Bb-C#-D-E-F-G-A. I'll post an example with the backing track soon.
Also, alot of people here seem to hate theory. I've read the whole thread, and that hate would actually be directed to the schools that teach music through theory. Being myself a music student, I have quite the insight on what's going on inside these schools, and I'm under the impression no one here has even attended music school, and are basing their arguments over speculations or stereotypes seen in movies and whatnot.
My current courses, besides musical-theory and solfege, are all based on building experience for improvisation, musicsmanship and technique. I have combo class, in wich I learn the ways of playing in a band, and teachers encourage students to improvise with their heart, and not just the scales.
Heck, they teach us that the best improviser is the one that plays AROUND the keys, and not WITHIN them.
Netherless, they teach us the scales, arpegios and modes anyways, because to play around the scales, you need to know them first. And impro theory is meant to make you understand what makes a solo so good, so you know what you're playing when you do so.
So I hope I make myself clear when I say theory is good for making you understand what you're doing, so later on you'll be able to make more complex stuff. And it's just as good for composition...
Happy new year everybody!
Cheers,
Samuel Hébert
Also, just sayin', the speed for C-Jam Blues is 240, not 120.
Sorry for double post
At 12/31/10 03:28 PM, camoshark wrote: Also, just sayin', the speed for C-Jam Blues is 240, not 120.
Sorry for double post
Well, actually...
At 1/1/11 12:44 PM, CosmicAlfonzo wrote: 240, 120, what's the difference? >.>
120 = Led Zeppelin, Deep Purple, 240 = Yngwie Malmsteen
But really, bass goes on 4ths, each bar have a function. If you consider bass notes as 4th and you p;ay swinged 8ths you'll see I'm right.
At 1/1/11 02:47 PM, sorohanro wrote: 120 = Led Zeppelin, Deep Purple, 240 = Yngwie Malmsteen
But really, bass goes on 4ths, each bar have a function. If you consider bass notes as 4th and you p;ay swinged 8ths you'll see I'm right.
Oh I guess maybe you're speaking 120 bpm on halfs, I was implying 240 bpm on 4ths. Maybe we were all just saying the same thing differently...
Happy new year everyone!
Here is my two cents on a lot of whats going on here
1. a lot of people are flexing egos, which needs to stop. Your not impressing anyone.
2. Cosmic. You are closed minded and limiting yourself, not to mention kind of a biggot. Crusty old black man? for real? There are many different schools of theory, thinking and approaches to an instrument. Every single person who studies and plays music at a professional level takes bits and pieces from many different sources and creates their own brand of theory. Theory is just a term for How you understand the instrument. Uniform systems of theory and musical notation are created in order to primarily sup-lament communication, so If I am the producer, Composer, band leader, or just someone your playing with, I can express my ideas to you and you can understand them. Also, know music is not always about your own expression, soul or selfishness. Infact at the professional level, it is 100% about creating a product for someone else with a few exceptions. For Example, Nat king Cole, was someone who we all know as a famous singer, but he described himself as a pianist, and honestly he could be compared to Tatum. In my own professional experience, if I do 200 gigs a year, maybe 10 of them will be of music that "feeds my Soul". I have a feeling much of what you say just comes from your lack of experience, and if you are serious as you say you are, you will learn, but it might be less bruising to hear from someone on the internet then being humiliated on the band stand, and believe me it happens. I myself have made grown men cry.
That being said, I would like to add my two cents about how people can improve themselves as jazz musicians and players, heres what me and many other professionals I know go through.
1. Theory. at the student level especially for anyone who is aspiring to play at a professional level, or be able to have a true understanding of music it is very important to learn Jazz Harmony. This means at the very least, memorizing every triad in every key, every note in every key, being able to cycle chords on fourths in your head, memorizing every four part harmony structure, and then memorising and applying analysis techniques to songs, be able to identify chord paterns such as I vi ii V and under stand that they are being used to do things like create turn arounds, or to fill space of a one chord which may otherwise be stagnant. Memorise ever ii V I in every key as well as tritone substitutes. Once all this has been memorized, you can began to memorise cadential chart families which as I learned them consist of Dominant, Sub dominant, Sub Dominant Minor, and Tonic Chords. Beyond that you should learn your poly chords and twelve note theory (thank you Bird). This stuff should really be studied and learned in this order, and it will take a lot of time, but until you do this, your going to have a very difficult time understanding jazz.
2. The Great American Songbook and The Standards. after you have become familiar with theory you need to start working on and understanding the songs which the classic jazz musicians played. Most of the material comes form a time where music was harmonically rich, many of them are show tunes. Learn the songs, Learn the lyrics, the chords, the melodies, understand them, Live them, Feel them, and Love them. Listen to frank sinatra sing them, Ella, Sarah Vaugh, Be able to sing them yourself and know the shows the come from, Know the verses and the contexts of the songs in the shows to really understand their meaning, ( this is for you Cosmic ).
3. Duplication - Listen to what the great players of your instrument have done with the songs and mimic what they have done not per note. Copy and steal. Students may say things such as " I want to be original and creative" but you can't create anything if you don't know how to play, and Don't worry about being corrupted, no matter how much bach you practice, you'll never be bach, and to quote jimmy rainy, the most natural thing in humanity for people to do is copy, from the moment we are born, its how we learn to talk, to love, to read, Everything. Figure out what the masters have done, and put it into what you do, no matter what, you will always be yourself.
4. Modern approaches - Modern being miles, Evans, Trane, Chic Corea, and then moving forward. When i say standards and duplication, I mean Big band Era, Oldies. Take yourself on a ride through history and progress forward. it will really help you appreciate why miles, jaco, mclaughlin, and all those types are ground breaking.
5. MOST IMPORTANT - PLay with people, Especially ones with more experience than you, Let your ass get kicked!!!!! over and over, PLay with people who make you leave and feel like shit, Learn jazz etiquette. Understand intros, and endings. Whos intros and endings they are, (stuff not in the real book) things taken from big band arrangements and etc. Learn when to and when not to play, Different comping styles, What instrument holds priority in comping, for example (if there is a pianist playing and im on the guitar and its us a bass drums and a singer, I pretty much just have to hang back until its my turn to take a chorus unless we worked something out ahead of time, this is important as I have made a lot of GREAT pianists make me feel like shit, and It would be awesome for you guys not to make the same mistakes as me)
6. always challenge yourself, Never let yourself stay in a comfort zone of ability. You should always be looking for the next level or someone who can help you get to the next area you need to be. Constantly put new music infront of yourself and don't limit yourself to one kind of music, Play jazz, PLAY pop, PLAY HIP HOP, PLAY Dub step, PLAY Classical, PLAY, PLAY PLAY. Don't be a snob.
Ok, I think this is a pretty in depth summary of almost everything I know about music with out any of the actual details of what I know about it. I'm sorry for the un -edited and loose state of this, but its 3:00 am, and I really ought to get some sleep. I hope people find this helpful and I am sorry also if I sounded preachy at any point. PLease note that My perspective and goals as a musician maybe completely different than yours. I am someone who has worked to make my living with music, and I aim to prepare people to do the same, and I do find and understand that music is an AMAZING hobby and lots of people do it for no other reason than personal enrichment and nothing is wrong with that. Good night all, I'm not to regular to NG anymore but I do creep on here once in a blue moon, so if you send me a message or have a question, I will get back to you... eventually but it maybe a few months....
@camoshark
Sometimes I'm sure of what I do. Right now, because you say 240 I checked and rechecked again.
Right now I see that I had set swinged 16ths, so that makes the bass goes in 8ths, so you are right.
I STAND CORRECTED!!! C-Jam Blues backing is 240bpm tempo.
Thanks for pointing that out.
@Death2Whity
You covered many aspects that I wish I knew how to talk about. Still, I don't expect people on Newgrounds (who come here mostly for fun of all kinds) to have the will to work and learn like crazy.
This sounds like fun just for a few of us :))))
Maybe you could take over the theory here in your free time?
Somehow I always find myself surrounded by better musicians, even when I'm teaching and around myself are my (supposedly) students... HEEEEEEeeeeeiiii...!!!
Anyway people, stop the (more or less) flame war. We are all on the same side, on the side of good music and we're here to improve ourselves and have fun at the same time.
Next, "Cantaloupe Island" :
Music sheet HERE.
@ Cosmo, I was just trying to help. You should listen to people and reflect instead of just getting defensive. I do well over 200 gigs a year doing all different kinds of music. My user name was something i thought was funny when I was like 13 and first started going on new grounds, and if you have no interest in jazz and don't like it, respect it, or love it, why bother posting on a jazz master class thread. Finally, the instructions i posted where meant to guide players at all different levels. There are plenty of beginners who really want to learn and might want directions, and thats my perspective. Anyway, I can tell from your previous posts and responses, that your probably just going to get defensive about what I have to say and that I maybe wasting my breathe. Any who, Do whatever you want to do, learn, play, and love music. Make everything you do fun. be well.
Ok guys, that's the end of it. I will ask Rucklo to close this thread and eventually delete the tracks. Don't know about deleting, I have those linked to other places also... but that's it.
If a flame war is more important to you, then have it, but have it elsewhere.
Ok guys, that's the end of it. I will ask Rucklo to close this thread and eventually delete the tracks. Don't know about deleting, I have those linked to other places also... but that's it.
thats shame. Thanks for posting those initial links. Didn't know about those sites. Those are great. Thank you!
Blues and jazz are the most perfect musical genres to ever grace my ears.
The theory of the devil is troll physics.
OP requested lock as seen in above post.
Too bad some of you have to go flamefesting... That's why we can't have nice things.
Wakka wakka
